Price, 25 cents 



I v^ w w s> 



^^. s^ 




Practical Instructions for 
Private Theatricals 

By ^^. D, EMERSON 

AntUr of "A Country Eomance/' ^'The Unknown Eival '* 
*' Humble Fie," etc. ' 



Price, 25 cents 



Here is a practical hand-book, describing in detail all tfte 
accessories, properties, scenes and apparatus necessary for an 
amateur production. In addition to the descriptions in words 

tha7oJ!, '"''Tl'''- '^'"^ ^" *^^ numerous%ictures, more 
than one hundred being inserted in the book. i\o such useful 

country.'' """" "^''^ '^'''^ '' ^^^ ^^^^^^ P^^^-^^ of any 

CONTENTS 
Chapter I. Introductory Remarks. 
Chapter II. Stage, How to Make, etc. In drawing-rooms 

rLl^"%'^' n'*^ '^'^'^^ "^ ^^"Sed doors. In a singlf Targe 
room. The Curtain; how to attach it, and raise it, etc 

Chapter III. Arrangement of Scenery. How to hang it 
Drapery, tormentors, wings, borders, drops. 

Chapter IV Box Scenes. Center door pieces, plain winss 
door wings, return pieces, etc. ; p ^.m wings, 

Chapter V How to Light the Stage. Oil, gas and electric 
stige, el'.^ ^^ ' Sidelights, Eeflectors. HoV^o darken the 

. ^^^pter yi Stage Effects. Wind, Rain, Thunder, Break- 
mg Glass Falling Buildings, Snow, Water, ' Waves, Cascade 
Passing Trains, Lightning, Chimes, Sound of Horses > Hoofs) 

Chapter VIL Scene Painting. 
Chapter VIIL A Word to the Property Man. 
Chapter IX. To the Stage Manager. 
Chapter X. The Business Manager. 

Address Orders to 
'THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



DENT'S OFFICE BOY 



By 

CHARLES M. STUART 



Copyright, 1911, by The Dramatic Publishing Company 



CHICAGO 
THE DRAMATIC PUBLISHING COMPANY 









CHAEACTEES. 

Mr. Dent, in business for all he can get out of it. 
Jimmie, Dent's office boy, for all he can get out of him. 
Jack Burnett, a nervous individual, in love with Edith 
Dent. 



TMP96-00'7i94 



CID 28129 



DENT'S OFFICE BOY 

Scene : Dent's office. Desk L. with papers^ etc., scattered 
on it. Photo of his daughter, Edith, shows prominently. Box 
of cigars in drawer. Chai/rs ad lib. Doors, R, L and C. Tele- 
phone in L wall, near desk. Other fixtures and furniture ad 
lib. [At rise of curtain enter Jimmie^ whistling. He carries 
a hroom and at once makes a great show of sweeping up, 
hurlesque, then Hows the supposed accumulation of dirt 
aside and places hroom aside.^ 

JiMMiE. Gee! Dis manual labor is gettin' wearisome. 
Th' boss'll have t' supply me wid an assistant. 

Voice. [Outside.] Mail ! 

JiMMiE. Now what d'ye think of that? Dey ought to 
get a mail chute wot works upwards. 

Voice. [Outside.] Say, are you comin' fer this mail? 

JiMMiE. Ah, close yer valve; yer steam's escapin'. 

[Goes off and returns after a second with package of 
letters.] Bills ! Bills ! Bills ! [Comes across a blue en- 
velope.] Whee ! Say, dis one is right dere wid de aroma 
all right. Marked "Personal," too. Th' old man must be 
gettin' sporty in his old age. [Scratches his head.] Looks 
as though it might be important. [Pause.] Well, as private 
secretary of th' concern it's me sacred duty to get wise to 
all perticklers. Guess I'd better open it and see wot it says. 
Th' boss might get a hot chimney if I didn't. [Opens letter 
and reads silently. Business — facial.] Well, say. Get 
into the booth and listen to dis. [Reads.] "My dear Mr. 
Dent: If you will have a few moments to spare tomorrow 

a 



% DENT'S OFFICE V-OV 

morning, I shall take the libeity of calling to see you on 
a matter of vital importance and posvsi'bly of mutual bene- 
fit. I have a proposal of great interest to lay before you. 
Very truly yours. Jack Burnett." [Replaces letter and 
seals envelope.'] Important business ! AVell, I should smile 
a few broad ones. I know him all right. Wants to see his 
i>[ jbs about Angel Face wot sits on the top of the desk, I'll 
bei me week's wages. He's stuck on her. [Phone rings. 
He tal'cs up receiver.'] Hello. [Importantly.] Yes, dis is 
de General Manager. [Pause — change of tone.] Oh, is 
dat you, j\[iss Dent? [Listens.] Xo, he ain't been here 
yet. [Pause.] All right. Good-bye. [Mad.] I knew it ! 
I knew it ! How did she know dat sap-faced mut wuz 
comin' here today. She's sent him, dats what it is. 
[Scratches head.] I'm wise all right. Little Jackie is 
comin' to see th' old man about marryin' Miss Edith. 
[Downcast.] Just my luck ! Here I've been slavin' every 
day from ten to free fer th' old man, hopin' some day 
to be taken into de firm — den wid me roll in me hand, I'd 
lay siege to th' heart of the fair Edith meself. Now it's 
all over. Dis mut comes along and cuts me out. It's me 
fer th' muddy waters. [He gets tliis off in a burlesque, 
serious manner, drops into Denfs chair l. in a despondent 
mood, lights a cigarette stump and gazes lovingly at the 
photo of Edith on the desk. Dext enters quickly.] 

Dent. Jimmie! [Jimmie immediately loses his sad 
expression and becomes ivide-awake.] 

Jimmie. Yessir ! 

Dent. What time is it? 

Jimmie. [Turning hands of clock on desk.] Quarter 
to eleven, sir. 

Dent. Eun over to J. P. Morgan's office and tell him 
I want to buy the fence around the earth. 

Jimmie. [Starts off.] Yessir! 



DENT'S OFFICE BOY 5 

Dent. Jimmie. [Jimmie stops short.'] 

JiMMiE. Yessir ! 

Dent. Have you opened the mail this morning? 

Jimmie. Yessir. 

Dent. What for? I told you often enough not 
to do that. You're fired. 

Jimmie. All right. [He starts off slowly.'] 

Dent. Where are you going? 

Jimmie. Hunt annoder job. 

Dent. You stay right here. What in blazes do you 
think I'm paying 3^ou for? Never mind the fence, I may 
want the earth this afternoon. Come here. [Writes tele- 
gram.] Take this telegram to the office and send it. 

Jimmie. Pay it, sir? 

Dent. No — collect. 

Jimmie. Correct. [Exit quichly. Above work very 
rapidly.] 

Dent. Now, let's see what's around here this morning. 
[Pichs up correspondence.] Bills, bills, bills! Jimmie 
ought to know better than to keep those things around 
here. He knows I never pay them. 

[Throws hills in waste-hashet. Sees blue envelope.] 
Hello, what's this ? [Smells it.] Perfumed. Wonder what 
it is? [Reads silently.] Now, what in thunder does a man 
want to write on perfumed paper for? Coming to see me 
about a proposal, eh? All right, I'll trim him, if there's 
anything in him to trim. [Telephone rings.] Hello. Yes. 
[Pause.] All right, I'll be over in a minute. Good-bye. 
[Hangs up receiver. Enter Jimmie.] Jimmie, I want 
yOU to stay here and keep guard. I'm going over to Rey- 
burn's office for a couple of minutes. 

Jimmie. [Matter-of-fact tone.] Sure, go ahead. Leave 
it to me. Runnin' th' shack is right in me line. 



6 DENT'S OFFICE BOY 

Dent. If any one calls, keep them here. I'll be back 
directly. [Exit.] 

JiMMiE. Th' boss is gettin' to have great confidence 
in me. He likes me — lets me do anything I wants ter. 
Don't believe he'd say a word if I took one of dose Christ- 
mas cigars wot his wife gave him. [Talces cigar from box, 
lights it and puffs. Puts feet on desk.'] Pretty much to 
the niazmna. Think I'll take one home to th' old man. 
[Tal^es another cigar and puts it in his pocket. Telephone 
rings.] Hello. What do you want? Th' boss? Right here 
talkin' to you. Wliat's the game? Sure, I'm on. All 
right. Have a cigar? Wait a minute. [Takes another 
cigar and puts it in pocket.] Dere, I think you'll find dat 
de best smoke you've had in a month. Yep, I'll be on der 
job all right, all right. So long. [Hangs up receiver and 
returns to desk.] Well, business is boomin' a little, but 
not enough to keep me busy. Guess I'll sing me a new 
song 'till somethin' turns up. [Introduce specialty. At 
end of song. Jack enters.] 

Jack. I say, sonny, is Mr. Dent in his office? 

JiMMiE. Dis is his layout. 

Jack. You don't perceive the drift of my remarks. 

JiMMiE. Float in; float in! What's your game? 

Jack. Is Mr. Dent in? 

JiMMIE. No. 

Jack. Do you know when he will be in? 

JiMMIE. No. 

Jack. Don't you know anything? 

JiMMIE. Not on . [Day of the week.] 

Jack. You seem to be a very perverse young individual. 

JiMMIE. Hully gee ! Listen to his face slippin'. 

Jack. I should like to say a few words privately to 
Mr. Dent without any further idle conversation with his 
subordinates. 



DENT'S OrnCE EOY 7 

JiMMiE. [Dum founded at the words used — iJien quichlu.] 
Xaw, he ain't been in fer a week. What cognomen shall I 
present to his nibs ? 

Jack. My name is Burnett. Jack Burnett. 

JiMMiE. Aha! Me hated rival! Now fer de bloody 
work. [Aloud to Jack.] Sit down and keep yer feet quiet. 
You make me nervous. Th' boss'll be back in a couple of 
days. Meanwhile, excuse me, cause I got work to do. [He 
crosses to door on l. with burlesque dramatic stride and 
business, speaking as lie does so.] Curses ! Curses ! Curses ! 
If I but had 'im in me povv^er. But me time will come 
and when it does [loudly] BEAYAEE ! [He goes off. Jack 
is startled at the voice and turns nervously.'] 

Jack. That office boy is a cure. But I can handle him 
all right, but I wish I could get over my nervousness when 
I think of Edith's father. But I must ask him for her 
hand in marriage. I almost wish I was dead. [Has been 
walking about stage, comes opposite Edith's photo and 
stops.] Ah, dear girl, would that you were here to give 

me courage to ask your father, then . [Enter Jimmib 

suddenly, carrying an armful of truck. In his excitement. 
Jack sticks photo under his belt and at the same time 
sweeps everything from top of desk; they strike the packages 
JiMMiE is carrying and Dent, entering at that moment, 
gets the benefit of it.] 

Dent. What in thunder are you trying to do there? 
Pick up that stuff and put it where it belongs. [Then to 
Jack.] Do you want to see me, sir? 

Jack. Why er er that is you see . 

Dent. Yes, just so. Excuse me a moment. [Sits doiun 
and signs papers. Jimmie misses the photo from the 
desk.] 

Jimmie. Now, where did dat photo flicker to? I'll bet 



8 DENT'S OFFICE BOY 

dat dub wid de Little Eva face copped it dead. I'll keep me 
eye on him fer fair. [Exit with pacltages.'] 

Dext. o^ow, then, sir. 

Jack. [ Ah stractedhj starts.] Eh? 

Dent. [Hitching his belt.] Now I'm ready for you. 

Jack. Good Heavens ! He's going to fight me. Oh, 
I wish I had a little more nerve. 

JiMMiE. [Appearing in door C, suddenly.'] Sa}-, boss, 
de druggist down-stairs wants to know if you want any 
more nerve tonic. 

Dent. [Savagely.] No ! 

Jack. Ah — I'll take a dozen bottles, please. [Jimmie 
exit.] Er — that is, you see, Mr. Dent, I am not sure — 
that is — my name is Burnett — I'm not sure you . 

Dent. Just a minute. [Picl's up letter.] Yes, it's all 
•right. Your name is Burnett. 

Jack. Well, the fact is, I wrote to you — I wrote to you — 
I wrote . 

Dent. Yes, I think you did. Here is your letter. 

Jack. Oh, goodness, what shall I say. He's got me all 
flurried up in a bunch. 

Dent. Sit down, please. 

Jack. Ah, yes, thank you, I shall . [Attempts to 

sit down. Photo has iccrked to seat of his trousers.] That 
photograph ! I can't sit down now. What shall I do ? 

Dent. Well, Mr. Burnett, may I ask the nature of your 
business with me ? 

Jack. Yes, that's just what I came to see you about — ■ 
the nature of my business. You see I have a proposal to 
make and er . 

Jimmie. [Suddenly appearing.] Say, boss, Mulligan 
wants to know what to do with that load of sand. 

Dent. Bring it here. This fellow needs some sand. 
[Jimmie disappears.} 



DENT'S OFFICE BOY 9 

Jack. There he goes again. He's a ferocious beast. I 
wish I was out of here, and . 

JiMMiE. [Entering,] Say, boss, how about de North 
Pole . 

Dent. Oh, that's Cooked. Get out. [Jimmie disap- 
pears.] Well, well, let's get down to business now. Are 
you in trouble? 

Jack. [Hands on seat of tivusers.] Yes, deep-seated 
trouble. It makes me restless. I can't stand up and I can't 
sit down. I can't eat and I can't sleep 1 . 

Jimmie. [Appears.] Say, boss, dere's a lunatic escaped 
in de buildin'. 

Dent. That's all right, Jimmie, I've got him safe. 
[Jimmie disappears.] 

Jack. Now he thinks I'm a lunatic. I've got to get 
straightened out some way. 

Jimmie. [Appears.] Say, boss, Martin says he's puz- 
zled . 

Dent. So am I, Jimmie. Get out. [Jimmie disappears.] 
Now, then, Mr. Burnett, try and collect yourself and state 
your business. I have an important engagement today . 

Jack. That's just the idea — engagement. I'd like to 
have one, you know, I . 

Dent. Sorry. I don't need any more office help at 
present. 

Jack. [Stumbles over chair and falls to floor.] This is 
the last straw ! 

Jimmie. [Appears.] Say, boss, me grandmudder died 
and I want to get off dis afternoon to go to de funeral. 

Dent. All right, Jimmie. And when the undertaker 
gets through with her, send him up here. There'll be an- 
other job soon. 

Jimmie. Yessir ! [Disappears.] 



10 DENT'S OFFICE BOY " -- 

Jack. ^h\ Dent, 1 want to speak to you about 9o 

you think Bryan will be the next president ? No ? 

Dent. No, sir. And I don't think you'll live to vote 
for him. I've no more time to waste with you. I've got to 
go to the photographer's to have an enlargement of my 

daughter's picture made and . [Notes absence of photo.] 

Now, where the devil did that photo get to? [Jack puts 
hands behind him suddenly. Jimmie appears.] Jimmie^ 
where is that photograph of Edith ? 

Voice. [Outside.'] Going down ! 

Jack. [Hands behind him suddenly.] No, thank 
heavens ! Still there. 

Jimmie. Don't know, sir. It was dere before dis mut 
came in and started to raise a racket in de shack. 

Dent. Young man, did you take that photo? 

Jack. I oh, no sir . 

Dent. Don't lie to me, sir. I see it in your eye. 

Jack. It isn't in my eye, it's in that is 1 don't 

know anything. 

Dent. I didn't ask anything about your education. What 
I want is that photograph and I want it quick. [Bangs 
fist on desk.] 

Jimmie. [Same business.] Yes, and we wants it quick, 
see? 

Dent. Jimmie ! 

Jimmie. Yessir ! 

Dent. Subside ! [Jimmie sits.] 

Jimmie. Yessir. 

Dent. Jimmie ! 

Jimmie. Yessir ! 

Dent. Get in l^ack of that fellow, we've got to capture 
him by force. [Music. General chase and mix-up, during 
which telephone rings. Dent goes to phone. Jimmie 
guards Jack.] 



DENT'S OFFICE BOY 11 

Dent. Hello! Hello! Yes, this is Dent's. What do 
you want? Hello, Central, what's the matter with this 
wire? Give me a better connection. There, that's better. 
Hello, who is this ? Oh, Edith. Well, what do you want ? 
(At mention of Edith, Jimmie sneaks in hack of Dent.] 
You WHAT ! Who is? Going to marry WHO ! ! JACK 
BUEXETT ! I ! Yes, he's here. For' the love of Mike, 
come and take him away before he does any more damage. 
All right. Just a second. [Turns to Jack.] Here, you, 
come and talk to my daughter — and when she gets through 
with you, I want to have a nice fatherly chat with you. 

Jack. [At telephone.'] Ah, there, Edith, my dear. [He 
loses all trace of nervousness and talks in a straightforward 
tone of voice.] Yes, everything is all right, dearest. No, I 
didn't have the slightest trouble in the world. It was the 
easiest proposition ever. Yes, he was a little violent at first, 
but I put a couple of clamps on his framework and went at 
him with a mallet and he came around in good shape. No ; 
he's all right now. All right, love, I'll be Avith you shortly. 
Yes, indeed, dearest. All right, honeybunch. Good-bye, 
dear; good-bye. [JiM:\riE and Dent have business during 
speech. Jack has taken the photo out during his phone talk 
and now turns to Dent.] Ah, governor, fine girl that. I 
hope you and I will get along all right. Do you know, I 
think I'll come to like you some day, if you behave decent. 
By the way, here's the photo you raised such a fuss about. 
I was going to have an ivory miniature made from it, but I 
can let it go for a couple of days. [Going.] And say — 
before I forget it — tell Edith I'll be out to take dinner with 
you this evening — I may bring four or five friends with me, 
so have a good set out ready. You won't mind, will you? 
Drop in and see me at the office once in a while. Strangers 
cordially invited. Seats free. Well, so long ; see you later. 



^- DENT'S OFFICE BOY 

Day-day, daddy-in-law-that-is-to-be. Au reyoir, Buttons. 
[He goes off.] 

Dent and Jimmie. Well, what the ! 

Curtain. 

Or the act can be finished bv song and dance by the 
three persons. 



Won BacKV 

A Play m Four Acts 

By 
CLIFTON W. TAYLBUR 

Price* 25 cents 

Six male, four female characters. A play -vrritten In tin samf 
vein as "Held by the Enemy," "Shenandoah," "Across the Poto- 
mac," and other great New York successes. Mr. Tayleur hat writ- 
ten many successful plays, but this striking picture of the s Irring 
times of the Great Rebellion surpasses them all. Costumew, civil 
and military of the period. Scenes, two interiors, and one land- 
scape with Confederate camp, easily managed. Time of pitying, 
two hours and thirty minutes. 

SYNOPSIS OF EVENTS 
ACT I — Drawing-room, Arlington, Washington— 1860 

"Whom first w© love, you know, we seldom wed; 
Time rules us alf: and life indeed is not 
The thing we planned it out, ere hope was dead. 
And then, we women cannot choose our lot." 
In fetters — The rivals — North and South — The coy wI4jw — ^A 
noted duelist — An old affection — The dismissal — The rivals meet—' 
"You shall answer for this" — Farewell. 

ACT n~Same Scene— I860 

"Who might have been — Ah, what, I dare not think! 
We are all changed. God judges for the best. 
God help us do our duty, and not shrink, 
And trust in Heaven humbly for the rest." 
Broken ties — A Vassar girl's idea of matrimony — A WasK/igton 
^savage — Schooling a lover — Affairs of honor — The Northern fire- 
eater — The missing challenge — Betrothed. 

ACT III — Drawing-room in New York Hotel— f 86t 

"With bayonets slanted in the glittering light 
With solemn roll of drums. 
With starlit banners rustlxng wings of night. 
The knightly concourse comes." 
To armsf To arms! — Stand by the flag— A woman's dui.y — A 
skirmish in the parlor— On to Richmond— Reunited— The pausing 
regiment. 

ACT IV— Confederate Camp at Wincheiter 1864 

"No more shall the war cry sever, or the winding river be r^d; 
They banish our anger forever, when they laurel the graves of our 
dead." 
A cowards' armor — A hand to hand struggle — ^Hugh captui-ed— 
Sentenced to be shot — A ministering angel — Harold King's re- 
venge—The attack on the camp— Death of King— After the battle- 
Wot* back. 

Address Orders fo 

THE DRAMATIC PUBLISHING COMPANY 

CHiCAGaiLUNOId 



Uncle Rube 

Aa Original Homestead Play in Fout A:rtt 

By CHARLES TOWNSEND 
Tbt Finest Rural Drama Ever Published 



Plrio^25 oeott 



CHARACTERS 

RUBEN RODNEY (Uncle Rube), Justice of the Peace, Schort 

Trustee, and a master hand at "swappin' bosses". .. .Character lead 

SIMON SMARLEY, a smooth and cunning old villain 

Character heavy 

MARK, bis son, a promising young rascal Straight heavy 

GORDON GRAY, a popular young artist Juvenile lead 

UPSON ASTERBIL.T, an up-to-date New York dude 

, Character comedy 

IKE, the hired man. "I want ter know;" Eccentric 

BUB GREEN, a comical young rustic Low comedy 

BILL< TAPPAN. a country constable. Comedy 

MILLICENT LEE, "the pretty school teacher" Juvenile lady 

MRS. MARTHA BUNN, a, charming widow. .. .Character comedy 

TAGGS, a waif from New York Soubrette 

Time — Mid Autumn. Place — ^Vermont. 

Time of playing— Two hours and a quarter. 

SYNOPSIS 

ACT 1. The Old Homestead. Uncle Rube arrives. 
ACT IL The Constable's office. The plot to ruin Uncle Rubei 
ACT III. Evening at the old farm. Uncle Rube is arrested. 
ACT IV. The Constable's office again. The old farmer wins! 

This play was written by one of the most popular of America^ 
dramatists, whose works have sold by the hundreds of thousands* 
One of the best plays of its class ever written. Splendid characters. 
Powerful climaxes. Bright wit. Merry humor. Very easy to pro- 
duce. Requires only three scenes. No shifts of scenery during any 
act. Costumes all modern. No difficult properties required. 

THE AUTHOR'S OPINIONI 

MR. TOWNSEND says of this drama: "I consider that 'Uncle 
tlube' is far superior to any play depicting country life that I hava 
yet written." 



This is the play for everybody — ^amateurs as well as professionals. 
It can be produced on any stage, and pleases all classes, from the 
most critical citj' audiences to those of the smallest country towns 
Printed directly from the author's acting copy, with all the original 
stage directions. 

Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

OOCAOO. ILUMOW 



Kj2ipU Kaclset 

\ Comedy in Thiree Awti 

By CHARLES TOWNSEND 



Price, 25 cents 



This play by Mr. Townsend is probably one of his most popular 
productions; it certainly is one of his best. It is full of action from 
start to finish. Comic situations rapidly follow one after another, 
and the act endings are especially strong and lively. Every char- 
acter is good and affords abundant opportunity for effective work. 
Can be player" by five men and three women, if desired. The 
same scene i? used for all the acts, and it is an easy interior. A 
most excellen / play for repertoire companies. No seeker for a 
good play can afford to ignore it. 

CHARACTERS 

CAPT. ROBERT RACKET, one of the National Guard. A lawyer 

when he has nothing else to do, and a liar all the time 

Comedy lead 

C JADIAH DAWSON, his uncle, from Japan, "where they make 
tea." Comedy old man 

TIMOTHY TOLMAN, his friend, who married for money, and is 
sorry for it Jur-enile man 

MR. DALROY, his father-in-law, jolly old cove Eccentric 

HOBSON, waiter from the "Cafe Gloriana," who adds to the 
com;u«iion Utility 

CLARICE, the Captain's pretty wife, out for a lark, and up to 
"anything awful" Comedy lead 

MRS. TOLMAN, a lady with a temper, who finds her Timothy a 
vexation of spirit Old woman 

KAT Y, a mischievous maid Soubrette 

TOOTSY, the "Kid," Tim's olive branch Props. 

SYNOPSIS 

Act I. Place: Tim's country home on the Hudson near New 
York. Time: A breezy morning in September. The Captain's 
fancy takes a flight and trouble begins. 

Act II. Place: the same. Time: the next morning. How one 
yarn requires another. "The greatest liar unhung." Now the 
trouble increases and the Captain prepares for war. 

Act Ml. Place: the same, Time: Evening of the same day. 
More misery. A general muddle. "Dance or you'll die." Cornered 
at last. The Captam owns up. All serene. 

Time of playing: Two hours. 

Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

GHlCAGO> ILUNOIft 



joe Ruggies 

OR 

THE GIRL MINER 

A Comedy Drama m Fout Acts 

By FRANK J. DEAN 
Price, 25 cents 

Nine male, three female characters. A vigorous, stiwlng v>1a^^ 
depicting peculiar types of life in a large city and in the mining 
districts of the West. The parts of Joe Ruggies, the miner, Hans 
Von Bush (Dutcli dialect), and Richard Hamilton, the scheming 
villain, all afford opportunity for clever work; while the part of 
Madge (soubrette), who afterwards assumes the character of Mark 
Lynch, is an excellent one for a bright young ac^vess. 

Scenery — City street, showing R. R. Station; rocky pass, with 
pet cabins; a wood scene, and two plain interiors: Costyumes of the 
iay. Time of playing, two and a half hours. 

SYNOPSIS OF EVENTS 

ACT 1— Entrance to Railroad Statio-« 

Looking for a victim — Joe Ruggies — "Them galoots is worse than 
grizzlies" — "Morning papers" — Madge and Bess plying their trades — 
"Can't you sing Joe a song?" — Hamilton and his pal confer — Tom 
Howarth gains inportant information — "Don't you dare to lay 
hands on us!" — Hamilton tries to maintain hii» authority — "Who? 
Old Joe!" 

ACT II — Doonisday's Hotel, Dare-<Ieva^a Gulch, California 

The landlord secures a guest — Hans disappointed — "Dot is a mis- 
dake" — A ghost story — The "Kid and his sister" — "Did I hurt your 
highness?" — Hans and Doomsday have another talk — Kate Laurel 
meets the young miner — "Yah, dot vas vot I t'inks" — Madge's dis- 
guise penetrated — She recognizes an old enemy — "Now, George 
Smith, take your choice" — Joe Ruggies as a t;'amp — "Ef yer think 
yer can pick on me because I'm han'some ye'lj find me ter hum" — 
Hamilton appears — "Those two youngsters are mine" — The trami> 
takes a hand. 

ACT III — Wood Scene 

A lively ghost — Hamilton and Smith plan more villainy— Old Joe 
thinks of turning Detective — Kate Laurel again — "There is a secret 
connected with my life" — Kate's confession— "What do you mean, 
sir?" — Tom Howarth once more — "Vos you looking for a hotel?" — • 
Planning an abduction — Old Joe as an Irishman — "Phat does yez 
want wid me?" — Undertakes to be a detective — Takes a han?. in 
the abduction — "Do it at your peril." 

ACTIV 

Hans hears, and tells, the latest news — "I nefer pelieved dot 
spook peesness" — Kate Laurel astonished — ^Hamilton attempts 
flight — "De poys haf got Mr. Hamilton, und dey vill gif him a 
necktie barty" — Arrest of* Smith — "Get out mit my vay, I vas de 
United States Mail" — Tom meets his old friend under new circum- 
Btances — "Do you want me, Tom?" — Old Joe gives consent— 'A 
**appy ending. 

Address Orders to ^~~~~" 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. DJJNOIS 



^jf' 



Hageman^s Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

The importance of an effective make-up is becoming more appar« 
ent to the professional actor every year, but hitherto there has been 
no book on the subject describing the modern methods and at the 
same time covering all branches of the art. This want has now 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and stage-manager, and his well-known literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. The book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an- 
swered bj' this admirable hand-book. It is not only the best make- 
np book ever published, but it is not likely to be superseded by 
any other. It is absolutely Indispensable to every ambitious actor. 

CONTENTS 

Chapter I. General Remarks. 

Chapter II. Grease-Paints, their origin, con-jponents and use. 

Chapter III. The iVIake-up Box. Grease-Paints, Mirrors, Face 
Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine, 
Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig 
Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before iVIaking up; the Straight Make- 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Straight Juvenile Make-up, Society 
Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. 

Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
Old Age, Ruddy Complexions. 

Chapter VIII. Comedy and Character Make-ups. Comedy Ef- 
fects, Wigs. Beards, Eyebrows, Noses, Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, the 
Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Bearas, Moustaches, and Eyebrows. Choosing 
a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers, Hoosiers, Southerners, 
Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, 
Quadroons, Octoroons. Negroes, Soldiers during War, Soldiers dur- 
ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers, 
Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, 
Portuguese, South Americans, Scandinavians, Germans, Hollanders. 
Hungarians, Ginsies, Russians, Turks, Arabs, Moors, CafRrs. Abys« 
sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, 
Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



PLA^ ill 



JAN 2 1912 

LIBRARY OF CONGRESS 




016 103 772 2 

And Entertainment Books. 

^EING the largest theatrical booksellers in 
t!l the United States, we keep in stock the most 
complete and best assorted lines of plays and en- 
tertainment books to be found anywhere. 

We can supply any play or book pub- 
lished. We have issued a catalogue of the best 
plays and entertainment books pubUshed in 
America and England. It contains a full 
description of each play, giving number of char- 
acters, time of playing, scenery, costumes, etc. 
This catalogue will be sent free on application. 

The plays described are suitable for ama- 
teurs and professionals, and nearly aU of them 
may be played free of royalty. Persons inter- 
ested m dramatic books should examine our cat- 
alogue before ordering elsewhere. 

We also caiTy a full line of grease paint^i 
face powders, hair goods, and other '*make-up" 
materials. 

The Dramatic Publishing Company 
CHICAGO 



